GENIUS LOCI

THIEVE'S KITCHEN is a band half-English, half-Swedish, taking his compositions as different adventures to explore their curiosity dinosaur sounds of the 1st period. His mentor worked on GRAY LADY DOWN, his music is both progressive, alternative and imaginative. The groups will referents KING CRIMSON to GENTLE GIANT, GENESIS to van der Graaf and YES to ANGLAGARD. Some directors label will place it in its "Eclectic prog", if you will. The musicians come from groups such BLOOD HUM ANGLAGARD precisely and the recent ALL TRAPS ON EARTH. I have struggled with their 5th album 'with pies', but' The Clockwork Universe "sounding more concise and more structured, had seduced me; what about their seventh, it's gone.

"Eilmer" begins with a song witness, throwing both sounds jazzy prog canterburyennes and purely in this musical maelstrom of the 70's: the female voice of Amy sets the tone of the ballad sound with various instrumental versions rather than solos; bass Johan shoots that Chris SQUIRE while various synths Thomas flirt with those of Tony BANKS; Phil guitar reminds me at times those of Steve Howe and Steve Hackett. The air is monolithic and playful at once, although in the cold style, austere and fruity ANGLAGARD. "Uffington" by Anna flute and drums immerse you in the first tremors génésisiens and that most of the spirit Canterbury with an airy guitar and jazz-rock on the edge of improvisation in rock art of creative madness.

The various titles derive from fussed engineering LOCI, spirit of nature; that title in three movements you can listen smoothly and without waves, I wonder if I do not age faster than expected because my ear begins to appreciate these notes tormented timeless; Ah yes, the Hammond organ on "Seven Stones" must be something to do. "The Poison Garden" follows, ephemeral little rhyme minutes with minimalist piano and voice whispered that one would see in a piano bar; it's simple, but it also worked very well for introspection midterm.

"The Voice of The Lar" and as more than 20 minutes perfectly orchestrated, a title that looks straight out of GENTLE GIANT, YES, KING CRIMSON also the go, the first PINK FLOYD, some VAN DER GRAAF and first GENESIS; sound, complex melodies, instruments highlighted as and measure the rise of the song, you will need several listenings to guess or discern the many musical drawers; festival achieved between the guitar and synthesizer, all supported by a forceful rhythmic base avoiding any trouble; solo me back even a title soundtrack "HEAVY METAL" I let you up! Some breaks are moving from a dinosaur group to another without transition, quite hilarious. One thing is sure, we move away from jazz influences to enter the convolutions of ANGLAGARD or ANEKDOTEN but with a softer look, more balanced, more cold too, almost melancholy; must be the voice of Amy to restore an almost festive tone to YES. The end off again on a more introspective movement. "Mirie It Is" with clean air, clear, almost magical piano and flute, comes as the latest title as there bringing an almost archaic musical research worthy of the first titles like GENESIS "stagnation"; one can feel the influence of Chick COREA, instruments giving into emotion and complexity, the beauty and innovation, not content to copy what the ancients were able to create there are only about fifty years, the last guitar solo is characteristic of a controlled mastery. more weighted, colder too, almost melancholy; must be the voice of Amy to restore an almost festive tone to YES. The end off again on a more introspective movement. "Mirie It Is" with clean air, clear, almost magical piano and flute, comes as the latest title as there bringing an almost archaic musical research worthy of the first titles like GENESIS "stagnation"; one can feel the influence of Chick COREA, instruments giving into emotion and complexity, the beauty and innovation, not content to copy what the ancients were able to create there are only about fifty years, the last guitar solo is characteristic of a controlled mastery. more weighted, colder too, almost melancholy; must be the voice of Amy to restore an almost festive tone to YES. The end off again on a more introspective movement. "Mirie It Is" with clean air, clear, almost magical piano and flute, comes as the latest title as there bringing an almost archaic musical research worthy of the first titles like GENESIS "stagnation"; one can feel the influence of Chick COREA, instruments giving into emotion and complexity, the beauty and innovation, not content to copy what the ancients were able to create there are only about fifty years, the last guitar solo is characteristic of a controlled mastery. The end off again on a more introspective movement. "Mirie It Is" with clean air, clear, almost magical piano and flute, comes as the latest title as there bringing an almost archaic musical research worthy of the first titles like GENESIS "stagnation"; one can feel the influence of Chick COREA, instruments giving into emotion and complexity, the beauty and innovation, not content to copy what the ancients were able to create there are only about fifty years, the last guitar solo is characteristic of a controlled mastery. The end off again on a more introspective movement. "Mirie It Is" with clean air, clear, almost magical piano and flute, comes as the latest title as there bringing an almost archaic musical research worthy of the first titles like GENESIS "stagnation"; one can feel the influence of Chick COREA, instruments giving into emotion and complexity, the beauty and innovation, not content to copy what the ancients were able to create there are only about fifty years, the last guitar solo is characteristic of a controlled mastery.

There it's finished! A journey to the depths of the Cold music, one that does not let itself be tamed easily, a journey for those who still dream of dinosaurs, travel smooth as in an eclectic kind that achieves a high mastery simply . This latest album thieve'S KITCHEN is worth the trip just to remember the good time deciphering pieces.